Stick flute
The stick flute ( stick recorder , Csakan , also in the spellings Czakan and Czech Čakan (also Tschakan , Tschwegan etc.), Hungarian : Csákány ) was a recorder built into a walking stick . It appeared in Vienna and the surrounding area around 1800 and was particularly popular in Austria-Hungary in the 19th century, especially during the Biedermeier period .
The csakan was a recorder with seven front holes and one thumb hole, to which one or more keys were added over time . The invention of the instrument is attributed to the flute virtuoso Anton Heberle . It was Ernest Krähmer (1795–1837) who wrote a considerable number of demanding compositions, mostly for Csakan accompanied by guitar or piano, and thus contributed greatly to the popularity of the instrument. There are also compositions for the Csakan by Anton Diabelli , Conradin Kreutzer , János Lavotta or Johann Strauss .
The Bohemian composer and guitarist Wenzel Matiegka wrote a school for the instrument.
A stick flute has also survived ( Musikinstrumenten-Museum Berlin , cat.-no. 4839).
In the Austrian Brass Music Museum in Oberwölz in Styria, a "Czakan" can be viewed on loan from the Styrian Choir Association.
literature
- Marianne Betz : The Csakan and his music. Viennese musical life in the early 19th century, illustrated using the example of a walking stick recorder . Schneider Verlag, Tutzing 1992, ISBN 3-7952-0730-4 (permitted dissertation, University of Heidelberg)
- Nik Tarasov: What is a Csakan? In: Windkanal , Vol. 1 (2009), ISSN 1864-6204
Recordings / sound carriers
- Csakan & Biedermeier : Siri Rovatkay-Sohns (Csakan) and Lajos Rovatkay (square piano), 2008, CD
- Youtube: J. Gebauer: Sonata op.17 pour csakan & pianoforte
Web links
Individual evidence
- ↑ History of the Recorder ( Memento from June 12, 2010 in the Internet Archive )
- ↑ Jürgen Libbert : An unknown work by the Bohemian guitarist Wenzel Matiegka. With a historical-biographical outline and a catalog raisonné. In: Guitar & Laute 1 (1979), 5, ISSN 0172-9683 , pp. 14-24; here: pp. 16 and 18